Softcover (Vintage) — Amazon
Audiobook (Tantor) — Amazon
Japan (Hayakawa) — Publisher
People’s Republic of China (China Renmin University Press) — Publisher
Taiwan (CTW Culture) — Books.com.tw | Amazon
Korea (Heureum) — Publisher

Toy Story 3 character designs

Nate Wragg showcases his work on the design of the film’s toys and their evolution.


Toy Story 3: A kid's reaction

A close associate of mine kindly agreed to write a guest column after seeing Toy Story 3 this morning.

Cole (age 10):

I saw “Toy Story 3.” It was a great movie, though there were some scenes that, surprisingly, could be a little intense for very young children (such as a giant baby doll that looks like a plastic zombie.) But overall it was a very good movie up to Pixar’s high standard. It was very funny. It had all the same characters as the first two, plus a cast of new ones. Among my favorite newbies was ‘Mr. Pricklepants’ a stuffed hedgehog with a taste for theater and drama. It was one of my favorite Pixar films just because of its pure classicalness and a stick-to-it plot. 



Roundtable of Toy Story 3 animators

Eight Pixar animators discuss the making of Toy Story 3


Teddy Newton

In the early 1990’s, an animation student at the California Institute of the Arts dropped out of school.

So he was a failure, right?

Next, he landed a job at Walt Disney Animation Studios—and got fired from it. (His quirky sense of humor led him to spend his last day of work posing as a washroom attendant at the door of the men’s room, offering co-workers a selection of soaps and towels, never breaking character.)

So then he was really a failure, right?

He did design work for a Warner Bros. animated feature film that flopped at the box office. He went on to finance and co-write The Trouble With Lou (2001), a black-and-white, live-action feature film about a young man’s problem with … ummm … onanism. It quickly vanished into obscurity.

Then he was really, really a failure, right?

Actually, no. After he impressed Brad Bird with his work on that Warner Bros. film, The Iron Giant (which has since found a loyal following), Bird brought him to Pixar to work on The Incredibles. Since then, he’s also done character designs for Ratatouille and Presto. And this weekend, his short Day & Night will almost certainly be the most-watched film in multiplexes across America, together with Toy Story 3

Readers of The Pixar Touch know that all of the leading lights of Pixar’s founding—Steve Jobs, Ed Catmull, Alvy Ray Smith, John Lasseter—had been let go from their jobs at one time or another. They’d all had what Walt Disney described as an important ingredient of his own success: “a good hard failure when you’re young.” Teddy Newton is only the latest figure in Pixar’s story to exemplify that “a good hard failure” isn’t the end of the journey.


Variety and The Hollywood Reporter on Toy Story 3

The trades reviewed Toy Story 3 yesterday — Peter Debruge in Variety and Michael Rechtshaffen in The Hollywood Reporter.

The reviews do contain spoilers going a little bit beyond what viewers have already seen in the trailers. I don’t think they would ruin the film for anyone, but for those who prefer to stay behind the veil of ignorance, here are some spoiler-free highlights:


Pixar has essentially set an impossible standard for itself, having previously delivered the rare sequel that improves on the original, then followed that up with a run of exceptional work. This latest script, written by “Little Miss Sunshine’s” Michael Arndt from a story by John Lasseter, Andrew Stanton and Unkrich, feels more gag-driven than the studio’s previous efforts — essentially borrowing a page from DreamWorks Animation, chasing snappy humor over heart-on-their-sleeve sentimentality, within a few months of DreamWorks going the Pixar route with the sincere storytelling of “How to Train Your Dragon.” (It’s worth remembering that former Disney CEO Michael Eisner once intended to make “Toy Story 3,” sans Pixar involvement, when relations between the two studios broke down in 2004.)

The visuals look gorgeous as ever, making classy use of 3D to enhance the drama, while staying true to the original aesthetic… . But the pic wants laughs, and it’s willing to dilute the respect Lasseter showed this borderline-absurd world to get them, goosing auds with punchline-driven cutting, pop-song montages and throwaway silliness. Surely kids could have done without the bathroom humor, though much of the comedy takes the high road, such as an inspired bit in which Buzz is accidentally switched to Spanish-language mode.

But “Toy Story 3” is best when it’s being serious, and the final 15-minute stretch … pays off feelings auds invested 15 years ago.  

The Hollywood Reporter

Bottom Line: Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return.

After a decade-plus absence, the toys are back in town, and boy are they a sight for sore, 3D-beaten eyes.

“Toy Story 3” might not carry that eye-popping dazzle of 1995’s milestone original that put Pixar on the map, but, in the absence of groundbreaking innovation, there’s a greater depth that isn’t solely attributable to those now-ubiquitous goofy glasses.

Playing with more darkly complex emotions than the previous two installments, incoming director Lee Unkrich (co-director of “Toy Story 2” and “Monsters, Inc.”) and screenwriter Michael Arndt (“Little Miss Sunshine”) manage to add nice substance without noticeably weighing down the beloved characters